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Les voix du théâtre québécois contemporain

De l’auteur au personnage et vice-versa


Pauline Bouchet

La dramaturgie québécoise présente des survivances du personnage, quand d’autres ne cessent de le remettre en question. Loin de présenter des individus psychologiques, les dramaturges québécois détournent le réalisme pour proposer des figures hors du commun. Ce livre propose d’abord un panorama de tous ces protagonistes en emmenant le lecteur dans une traversée de nombreux textes écrits dans les années 2000 mais dont les auteurs sont de plusieurs générations, traditions et formations théâtrales. Vous y découvrirez des personnages sans famille, sans passé, sans territoire, des personnages qui viennent d’autres œuvres. Cette galerie de portraits nous invite à entrer dans la fabrique des auteurs pour interroger le partage des voix qu’ils opèrent dans l’écriture.

En effet, les auteurs dramatiques, face à la difficulté de plus en plus grande de faire entendre leurs voix, choisissent souvent de se représenter dans leurs œuvres et exploitent dans leurs créations leur moi d’auteur comme un matériau. C’est cette voix de l’écriture aux limites de l’autofiction et de l’autobiographie qu’explore la seconde partie de l’ouvrage. Pour cela, l’autrice s’intéresse à des œuvres plus proches du plateau et montre comment les auteurs, souvent aussi acteurs, metteurs en scène, se pensent et se représentent dans leurs œuvres et interrogent leur pouvoir de création de la fiction.

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Zuzana Křenková

The book Locus Fratrum is the first attempt at a systematic analysis of the architecture and building practice of the last major medieval monastic order. The core of the book lies in chapters monitoring the history and building development of the individual monasteries in the territory of the Bohemian monastic province. The catalogue part is preceded by chapters summarizing the historical context of the Observant Franciscans’ activities in the second half of the fifteenth and the first half of the sixteenth centuries, during which the Observants experienced both rise and fall. The history of the order is followed by an exposition on the rules governing the foundation of convents, the monastic rules limiting artwork and above all the character of the order’s architecture.

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Music and Ritual in Medieval Slavia Orthodoxa

The Exaltation of the Holy Cross


Gregory Myers

This project fills a void in medieval musical scholarship in the West by addressing an area that is virtually terra incognita. Based on newly-accessed primary source material and grounded in the most current scholarship, the English-language monograph-length study, Music and Ritual in Medieval Slavia Orthodoxa: The Exaltation of the Holy Cross investigates the sacred music traditions of the Orthodox Slavs (Bulgaria, Serbia and Russia) during a critical period in the cultural history of the region. The approach taken is interdisciplinary, drawing on recent scholarship in liturgical studies, Byzantine and medieval Slavic history, linguistics and musicology. The study traces the dissemination of liturgical and musical performance practices through the disparate centers of the Eastern Christian world (from Southern Italy, Balkan Peninsula to Kiev and Novgorod). It takes into account the physical locus of the chanting practices, whether urban cathedral or monastery. The medieval Slavs are treated as an autonomous cultural body within the Commonwealth of the Eastern Church.

Set against the shifting liturgical backdrop of the 13th century with its pending liturgical reform, the study addresses aspects of chant performance practice in the Slavic-speaking world. Select hymnography for the celebration are sought in the rubrics of liturgical sources describing its placement in the services, singing personnel, the style of the hymnody and the manner of its musical execution (antiphonal, responsorial). The Feasts of the Holy Cross, observed during the week of September 14, the Third Sunday of the Lenten Fast and Holy Week (Holy Tuesday and Good Friday), serve as case studies for which there is an abundance of unexplored material to be brought to light. The current study presents this material to the Western audience for the first time.

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Tomasz Jez

This book studies the Jesuit culture in Silesia and Kłodzko (Glatz) County by focusing on its musical works and traditions. The strategies adopted by the Jesuits achieved notable results in the artistic traditions they cultivated, first of all a creative redefinition of musical culture itself, at various levels of its organization. While allowing music to exert influence on human activity, the Jesuits had to accept that its impact would depend on the peculiarities of local possibilities and conditions. This is why they analysed the qualities of music and its culture-forming potential in such detail and precisely defined its norms and modes of functioning. The impact of music can be observed in the transformations that the cultivation of musical culture brought about in the model of the Order itself, as well as in individuals, communities, and the time and space that defined them.

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Seeing Renaissance Glass

Art, Optics, and Glass of Early Modern Italy, 1250–1425

Sarah Dillon

With the invention of eyeglasses around 1280 near Pisa, the mundane medium of glass transformed early modern optical technology and visuality. It also significantly influenced contemporaneous art, religion, and science. References to glass are found throughout the Bible and in medieval hagiography and poetry. For instance, glass is mentioned in descriptions of Heavenly Jerusalem, the Beatific Vision, and the Incarnation. At the same time, a well-known Islamic scientific treatise, which likened a portion of the eye’s anatomy to glass, entered the scientific circles of the Latin West. Amidst this complex web of glass-related phenomena early modern Italian artists used glass in some of their most important artworks but, until now, no study has offered a comprehensive consideration of the important role glass played in shaping the art of the Italian Renaissance.

Seeing Renaissance Glass explores how artists such as Giotto, Duccio, Nicola Pisano, Simone Martini, and others employed the medium of glass—whether it be depictions of glass or actual glass in the form of stained glass, gilded glass, and transparent glass—to resonate with the period’s complex visuality and achieve their artistic goals.

Such an interdisciplinary approach to the visual culture of early modern Italy is particularly well-suited to an introductory humanities course as well as classes on media studies and late medieval and early Renaissance art history. It is also ideal for a general reader interested in art history or issues of materiality.

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Wie Bilder «entstehen».

Produkt und Kode [Band 5]

Edited by Dieter Maurer

Dieser fünfte Band (und das mit ihm verbundene  Bildarchiv) stellt eine Untersuchung der Eigenschaften und Entwicklung früher Bilder von Kindern  Südindiens und Indonesiens dar und vergleicht die Ergebnisse mit denjenigen der vorgängigen Untersuchung europäischer Kinder (siehe Band 1).

Im Zentrum steht dabei die Frage, ob sich ein substantieller Teil der frühen Bildentwicklung in der Ontogenese für sehr verschiedene Kontexte der Bildproduktion und -rezeption als quasiidentisch dokumentieren lässt, oder ob sich frühe Bilder grundsätzlich als konventionell und also als kodiert erweisen. (In der Literatur werden Studien dieser Art  häufig als «kulturvergleichend» bezeichnet.)

Band 1 «Eigenschaften und Entwicklung» (und das mit ihm verbundene Bildarchiv) erläutert und illustriert die zeichnerische und malerische Entwicklung von europäischen Kindern im Vorschulalter, untersucht anhand früher Bilder als fertigen Produkten.

Band 2 «Bildarchiv Europa und Materialien» (inkl. DVD) enthält alle Bildersammlungen der in Band 1 dargestellten Untersuchung sowie zusätzliche Illustrationen, Texte, Tabellen und Abbildungen.

Band 3 «Beschreibende Methode» erläutert und illustriert ausführlich die begrifflichen und methodischen Einzelheiten der Beschreibung früher Bilder als fertigen Produkten. Die untersuchten Bild-  und Filmarchive sind über ein-sehbar.

Band 4 «Prozess und Produkt» (und das mit ihm ver-bundene Filmarchiv) stellt eine Untersuchung des Verhältnisses von Prozess und Produkt früher Bilder in der Ontogenese vor.

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Natasha's Dress

Language of Literature, Language of Fashion


Paola Colaiacomo

This book explores interconnections between high literary modernism and the revolution in dress design of the early twentieth century. During this time, new and «liberated» lifestyles created a bond among figures as diverse as writers and fashion editors, painters and art critics, photographers and models, dancers and economists – all of whom were in different ways looking at new «inventive clothes» (Vreeland) as life experiences.

Starting points of the research are Pirandello’s One, no one, and one hundred thousand, where the protagonist’s disowning of his own image in the mirror ignites a tragedy, and Roger Fry’s essays on the resuscitation of Victorianism at the end of the First World War, where the phantasmagoria of time is identified as the basis for modern illusion.

Each chapter in the book explores a different facet of the same topic: the distance between self and image as the dispenser or destroyer of enchantment. This issue was actively pursued by philosophers (Benjamin), writers (Woolf, Mansfield, Fitzgerald), photographers (Man Ray, Cecil Beaton) and fashion critics (Vreeland). The evolution in fashion editing was meanwhile instructing the sophisticated readers of Vogue and Harper’s Bazaar in the art of contemplating their own reflections in the mirror and seeing in them exactly what they wanted to see.

The Natasha of the title is Tolstoy’s heroine, a secret spring of creative energy for Katherine Mansfield, and the source of one of Diana Vreeland’s most perceptive insights into the nature of fashion.

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Unbridling the Western Film Auteur

Contemporary, Transnational and Intertextual Explorations

Edited by Emma Hamilton and Alistair Rolls

According to Jim Kitses (1969), the Western originally offered American directors a rich canvas to express a singular authorial vision of the American past and its significance. The Western’s recognizable conventions and symbols, rich filmic heritage, and connections to pulp fiction created a widely spoken «language» for self-expression and supplemented each filmmaker’s power to express their vision of American society. This volume seeks to re-examine the significance of auteur theory for the Western by analysing the auteur director «unbridled» by traditional definitions or national contexts.

This book renders a complex portrait of the Western auteur by considering the genre in a transnational context. It proposes that narrow views of auteurism should be reconsidered in favour of broader definitions that see meaning created, both intentionally and unintentionally, by a director; by other artistic contributors, including actors and the audience; or through the intersection with other theoretical concepts such as re-allegorization. In so doing, it illuminates the Western as a vehicle for expressing complex ideas of national and transnational identity.

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Angela Fiore

Le istituzioni femminili partenopee furono centri indiscutibili di cultura, fucine di mecenatismo, laboratori privilegiati di attività artistiche e di produzioni musicali e diedero un contributo incisivo alla vita culturale e artistica della Napoli vicereale. Monasteri e conservatori impiegarono nel corso dei secoli i musicisti più rappresentativi della città di Napoli a sostegno delle cerimonie liturgiche o per curare la formazione musicale delle religiose e delle figlie ospiti.

Il presente studio si propone di indagare e ricostruire le attività musicali di questi enti attraverso lo studio della documentazione proveniente dai principali archivi presenti nella città di Napoli. Le fonti d'archivio permettono infatti di comprendere quale funzione avesse l'arte musicale nella vita dei chiostri. La ricerca intende inoltre considerare la realtà monastica femminile nel suo insieme, esaminando la presenza delle comunità religiose nella città e il loro ruolo all’interno delle dinamiche della vita urbana. L'indagine condotta restituisce oggi una visione attendibile del fenomeno sonoro nel quotidiano delle realtà claustrali, portandoci a comprendere quanto le comunità monastiche femminili contribuirono allo sviluppo di tradizioni musicali, spettacolari, liturgiche.


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Falling for Gravity

Invisible Forces in Contemporary Art

Catherine James

This book begins with the observation that contemporary artists have embraced and employed gravity as an immaterial readymade. Necessarily focusing on material practices – chiefly sculpture, installation, performance, and film – this discussion takes account of how and why artists have used gravity and explores the similarities between their work and the popular cultural forms of circus, vaudeville, burlesque, and film.

Works by Rodney Graham, Stan Douglas, and Robert Smithson are mediated through ideas of Gnostic doubt, atomism, and new materialism. In other examples – by John Wood and Paul Harrison, Gordon Matta-Clark, Peter Fischli and David Weiss, Trisha Brown, and Bas Jan Ader – mass and momentum, falling objects, and falling bodies are examined in relation to architecture, sculpture, and dance.  In performances, projects and events curated by Bruce Nauman, Santiago Sierra, and Catherine Yass, gravity is resisted in Sisyphean ordeals and death-defying stunts.

This account of contemporary art and performance, read through the invisible membrane of gravity, exposes new and distinctive approaches to agency reduction, authorial doubt, and redemptive failure.